Beginning his opera with a prelude for strings of unprecedented economy of means, in 1853, Verdi affirmed his intention of defying conventions and norms. This is not the least radical aspect of his “Traviata”, which implacably strips bare the violence of a society that promotes worldly pleasures only to sacrifice an innocent woman on the altar of bourgeois morality.Simon Stone delights in grappling with the major works Simon Stone delights in grappling with the major works of the repertoire, enticing them into more intimate territory. One of today’s most distinguished stage directors, he now makes his long-awaited debut at the Paris Opera.

The Venue's History in few words …

Subtitles in French and English for Operas.

In the land of Descartes, the words «Opéra de Paris» more readily designate a concept than an actual lyrical théâtre! Called «The Royal Academy of Music and Dance» under the reign of Monsieur de Lully and «The Impérial Academy» according to différent jolitical events, the institution was rebaptized a number of time s before settling into the "alais Garnier in 1875. This sumptuous édifice, with every last détail (including the door 'cnobs...) designed by Charles Garnier, brings together the most eclectic architectural éléments. When Napoléon III worried about the buildings differing styles, Garnier reassured him by explaining "hat the design was at the forefront of a new style, called «Napoléon III.» And legend has it that 'he building was constructed on a little lake, in which the Opera's administration bred fish...

Some call to mmd the era of Felia Litvmne (1863-1936) and her vast repertoire, including Tannhâuser, La Juive and Lully’AlCESTE. Others remember the casts billed by Jacques Rouché between 1915 and 1945, an era during which Georges Thill sung both Massenet and Wagner in French. In 1939, the Palais Garnier's Grand Opéra and the Salle Favart's Cornic Opéra were united under the manage­ment of a common admînistrator, the «Réunion des Théâtres Lyriques Nationaux.» And 1964 marks the year during which the old ceiling of the Palais Garnier was covered with a colorfiil fresco by Chagall.

More recently, opéra lovers recall the magnificent Liebermann years, during which, in 1973, Rolf Liebermann, then the Opera's administrator, called upon the know-how of a musical advisor named Georg Solti! In 1989, the very modem Bastille Opéra was opened and the Salle Favart became indépendant once again. The Garnier Théâtre was then reserved for dance, and. together with the Bastille, became part of the «Association des Théâtres de l'Opéra de Paris,» rebap­tized «Opéra National de Paris» in 1994. In the midst of thèse numerous changes, the Palais Garnier has recently under-gone thorough restoration, and since March 1996, lyrical productions are once again programmed on its stage. To opéra lovers' great satis­faction, the famous théâtre has thus revived its past splendeur and a programming worthy of its glorious history.

Palais Garnier

Synopsis

La Traviata

LA TRAVIATA: AN EXCITING AND PASSIONATE OPERA
La Traviata by Giuseppe Verdi is a popular opera played over three parts, and set to a beautiful Italian libretto by Francesco Maria Piave.

Telling the tale of a fallen woman, the opera is based on an original play adapted from a novel entitled 'La Dame aux Camélias' by Alexandre Dumas, the younger son of the famous French writer. Though both Verdi and Piave wished to adhere to Dumas' contemporary setting, authorities at La Fenice were adamant that it should be set in the 1700's. It was only in the 1880's that the opera was finally performed in the contemporary setting that Verdi had intended. However, it was not well recieved until it was again revised.

HISTORY
The most performed opera in the world according to Operaboard 2012/2013, and certainly one of the most popular, La Traviata is set in early 18th century Paris and tells the tale of Violetta, a courtesan.

Act 1
A fabulous party is thrown to celebrate the recovery from illness of famous Parisian courtesan, Violetta Valéry. Count Gastone has brought along his friend, the young noble Alfredo Germont who is in love with Violetta. Gastone tells Violetta that during her illness Alfredo visited her home every daym abnd she wonders if he could be 'the one'. However, Violetta's lover Baron Douphol is not impressed and refuses to toast her creating the opening for Alfredo to sing a drinking song in her honour.

Act 2
Scene 1:
Violetta has given up her life in Paris and has moved with Alfredo to her country home. Annina the maid has been to Paris to sell Violetta's belongings to support them and when Alfredo discovers this he leaves for Paris. Alfredo's father, Giorgio Germont visits Violetta to beg her to break up with his son since her reputation is ruining his daughter's engagement. She finally agrees and is seen weeping alone. Leaving a farewell note with her servant for Alfredo, Violetta leaves for Paris.
Scene 2: Party at Flora's house
Everyone is shocked to hear of the break up of Violetta and Alfredo. She arrives at the party with Baron Douphol. Alfredo says it will be he who leaves with her and wins a lot of money at the gambling table. Alfredo won't believe that Violetta no longer loves him and forces her to say that she is in love with the Baron. Alfredo throws the money at Violetta to 'pay for her services'. Giorgio enters looking for his son Alfredo and immediately realises what has happened. The Baron and Alfredo decide to fight a duel.

Act 3
Her tuberculosis has returned and Violetta doesn't have long to live when a letter from Alfredo's father informing her that the Baron was only wounded. He has told Alfredo of the sacrifice Violetta made for him and his sister. It is too late and Violetta is aware of this when Alfredo rushes in. She dies in his arms.